There are several ways that you can form chords:

1. Number the scale and choose the appropriate scale degrees
2. Use intervals to “stack” notes
3. Use your ear to “hunt and peck” at the notes

Let’s work backwards.

- – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – -
#3 Use your ear to “hunt and peck” at the notes
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This is not a very accurate way of forming chords. However, it will
produce some interesting sounds! I DO like the idea of taking some
time at the piano to “free play”. Simply try creating new chords by
spreading out your fingers and hit three or four notes at a time.
What do you think about the sound you just made?

Sometimes you’ll come up with a sound that you really like. If this
happens, write the notes down! You can create a “black book of
chords” of different chords that you like the sound of. When
looking for something to practice, pull out your little black book
of chords and practice one of those chords.

- – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – -
#2 Use Intervals to “stack” notes
- – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – -

You’ll produce accurate chords with this method, but you might not
know the “function” of the notes.

To create a dominant 7th chord, start with the root. Let’s use G as
our root.

Next, go up a Major 3rd higher than G. This note would be B. Now
you have G & B as the first two notes of the G7 chord.

Next, move up a minor 3rd from B and play a D. The notes are now
G-B-D, a Major triad.

Finally, go up another minor 3rd from D and play F.

The complete G7 (G Dominant 7th) chord is G-B-D-F

Using this method requires you to -really- know your intervals.
But, that is a good thing! Here’s a trick, take 2 stacks of note
cards. On one stack (stack A) write one note on each card. So, on
one card, you’d write C. On the next card, write Db. On the next, D
and so on until you have all 12 notes.

On the other set of cards (stack B), write an interval on each
card. So, one card would say Major 3rd. The next card would say
minor 3rd. The next would say Major 2nd and so on. You do not need
to write all of the intervals at this time. You might just want to
start with Major and minor 3rds.

To use the cards, pull one card from stack A and B. So, you might
have Eb — Major 3rd. You need to say what note is a Major 3r
higher than Eb. Do you know? It is G.

This is a great way to learn your intervals.

- – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – -
#1 Number the scale and choose the appropriate scale degrees
- – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – -

I think this is the best all-around method for creating chords.
With this method, you review your scales and also get to know the
function of the notes in each chord. So, let’s go through this
method.

First, you NEED to know your Major scale. The pattern for creating
the Major scale is: W-W-1/2-W-W-W-1/2.

Start on any note. Let’s use F for this example. Now, go up a
whole-step (that’s what the ‘W’ stands for) to G. A few points to
remember. First, when you started on the F, you did not go anywhere
yet. Many students think the first note is the whole-step. In
reality, you need to move between two notes to create the first
whole step. Second, a whole-step is equal to two half-steps. A
half-step is when you move to the very next note higher or lower.

O.K., so we now have F-G as the first two notes of our F Major
scale. Next, move up another whole-step to A. Next, move up a
half-step to Bb (B flat). Now a whole-step to C. Another whole-step
to D. One more whole-step to E. Finally a half-step to F. The
complete scale is:

F-G-A-Bb-C-D-E-F
W-W-1/2-W-W-W-1/2

Now that you have the F Major scale, we number the notes of the
scale.

F=1
G=2
A=3
Bb=4
C=5
D=6
E=7
F=8 or 1

The Dominant 7th pattern is 1-3-5-b7. So, 1=F, 3=A, 5=C and b7=E
flat. The completed F7 chord is F-A-C-Eb.

Using this method, it is easy to see how each note is functioning
in the chord. You know that the 3rd is A and the seventh is Eb. It
also gets you learning your Major scales. More importantly though,
you learn the NOTES of each scale. You will start to recognize the
3rd of a scale or flatted 5th.

Here are the patterns for some other types of chords:

Major 7th: 1-3-5-7
Minor 7th: 1-b3-5-b7
Dominant 7th: 1-3-5-b7
Diminished 7th: 1-b3-b5-bb7 <– that’s double flat! Same note as 6,
so we could write it as: 1-b3-b5-6

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Conclusion
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Yikes! That’s a lot of stuff to learn. I know, it has taken me
years to master it. You should now have a better understanding of
how to create these chords in a variety of ways.

Understanding Jazz Piano Chords

Jazz piano chords can sometimes be confusing at first glance. In this article, I am going to explain how jazz players usually interpret chords and pick tensions to create lush chords. Bear in mind, every musician has their own “tricks” that they use to form their chords. However, there are some basic harmonic concepts that you need to understand and I’ll cover some of them in this article.

If you are looking for an instructional course on creating full chords at the piano, I’d suggest the JazzPianoLessons.com Piano Chords bundle. This three-DVD set covers both basic seventh chords along with advanced quartal voicings, tensions, alterations, upper-structure triads, rootless voicings and more.

Let’s begin with a basic seventh chord for D-7. Example A is what a typical voicing of a D-7 chord might look like.

Example A

O.K., that’s pretty simple, right? Now take a look at example B. Does this still look like a D-7 to you?

Example B

Labeling Chords

You might look at this chord and think F Maj7 or D-9. We can rule out F Maj7 because the root is a D. However, why didn’t I label this chord D-9?
I did not label the chord as D-9 because it is common for jazz players to automatically add tensions to the chords that they are playing. Jazz players know which available tensions each chord can utilize. Personally, I’d rather see a chord written as D-7 than D-9 or D-9 (add 11). I think that many (not all) pianists would agree with me because as jazz players, we are accustomed to working from a “shell”.
Basically, when I see D-7, I already know that the 9th and 11th are probably available to me. When looking at a lead sheet, especially in a low-light gig situation, I want the lead sheet to be as un-cluttered as possible.

The “Right” Tensions

You might be wondering, which tensions are the “right” tensions for a particular chord? Well, let’s go through the three basic chords: Major, minor and Dominant 7th chords.

Major 7th available tensions are: 9, #11 or 6 (usually replaces the 7th)
Minor 7th available tensions: 9 and 11. 6 would replace the 7th.
Dominant 7th available tensions: b9, 9, #9, #11, b13 and 13.

Here is an easy chart:

Chord Type Available Tensions
Major: 9, # 11 or 6 (usually replaces the 7th)
Minor: 9 and 11. 6 would replace the 7th
Dominant: b9, 9, # 9, #11, b13 and 13

So, looking back at the D-7 chord in example B, you’ll notice that I am adding the 9th to the chord. This is just one of many different voicings that I cover in the Piano Chords bundle.

Dominant 7th Tensions

I want to draw your attention to the Dominant 7th available tensions. Once again, they are b9, 9, #9, #11, b13 and 13. Let’s go through the notes for a C7 chord.

C7 chord tones are: C-E-G-Bb

Available tensions are: Db-D-D#-F#-Ab-A

You’ll notice that the only two notes left that are not represented are F and B. F would be a sus4 and B would change the C7 to a C Maj7 chord.
I like to bring this up because remember, when you improvise, you can use any chord tones or available tensions in your solo. So, on a Dominant 7th chord, there are really only two notes that you would try to avoid. This also means that when you play a Dominant 7th chord, you can add almost any note as a tension. Well, let me put it this way, you have a 10 out of 12 chance of hitting the “right” note!

The Million Dollar Question, “Why 13 and not 6?”

I have been asked this question for years! It is a difficult question to answer because it is like asking why does 2+2=4? However, I do have my explanation. Let’s take the C7 chord as an example again.
The chord tones (notes that are found in the chord and not tensions) are C-E-G-Bb for a C7 chord. The C is the root, E is the third, G is the fifth and Bb is the flatted 7th.

It is perfectly reasonable to think of D, F# and A as two, sharp four and six. However, we would call D the ninth, F# sharp eleven and A the thirteenth. You might be asking, “Why?”
Since chords are predominantly formed by “stacking” thirds, we would consider the D-F# and A as being “upper structures” of the chord. See example C below:

Example C

Another way of looking at adding tensions is to add a Major 9th above the root, third and fifth of the chord. Example D demonstrates this technique.

Example D

In the next article, I’ll discuss how to create a dominant 7th and Major 7th chord using tensions. We’ll also cover replacing chord tones with tensions.

Learn more about the Piano Chords bundle.

Where do I start?

This is a question that I am often asked from new and potential students. I suppose if I only have two DVDs available, it would be easier to pick a place to start. However, I have dozens of DVDs available on many different topics. So, I completely understand why many of you ask “Where do I start?”

In this three-part article, I am going to lay out a “plan of attack” for the beginner, intermediate and advanced level player. Of course every student has different needs and interests. Therefore, I ask that you view this guide as a starting point, and not a rigid lesson plan.

This first part will deal with the absolute beginner to jazz or the piano. This lesson plan is for you if:

• You have only a few months or less experience.
• If you can already play, but are completely new to jazz
• If you can already play, but would like a “refresher” course
• If you find many “holes” in your knowledge of theory, rhythm or improvisation
• If you can not improvise already

Beginner Concepts For Learning Jazz Piano

If your goal is to learn jazz piano, learn how to improvise at the piano or just learn how to play the piano with more ease and fluidity, you need to break your practice and learning down into separate concepts. The concepts I’ll be discussing are:

• Rhythm — learning rhythm and how to perform rhythms more effectively
• Accompaniment — learning how to accompany yourself and others
• Chords & Theory — understanding how to build your chords
• Technique — increasing your fluidity at the piano
• Improvisation — learning how to improvise a melody and create a solo

Rhythm

Rhythm is perhaps the most important element of music. The other element of music are harmony and melody. Rhythm however can make or break a performance. We all know that just playing the ‘right’ notes does not always sound fine. Having good rhythm goes a long way in deciding if you sound like a professional or a novice.

A good place for all pianists to brush up on their rhythms is Mastering Rhythms Volume 1. In this DVD, you’ll learn:

• Why is Rhythm Important?
• Time signatures & Meter
• Vocalizing Rhythms
• Quarter Notes & Rests
• Half Notes, Whole Notes & Rests
• Swing vs. Straight
• Downbeat, Upbeat & Syncopation
• Eighth Notes on The Downbeat
• Eighth Notes Starting on The Upbeat
• Eighth Notes Tied Into Other Notes
• Understanding & Playing Triplets
• How to Sub-divide The Beat

Practice Routine:

DAY ONE:

1. Print off the music and put it in a binder (10 mins)
2. “Skim” through the printed material and DVD (15 mins)
3. Watch the first chapter 2-3x before trying it alone (30-40 mins)
4. Turn off the DVD and try to reproduce what I just did in the last chapter (15 mins)

DAY TWO:

1. Do not watch the DVD. Instead, try to reproduce what I did using only the printed music (15-20 mins)
2. If you get frustrated, take a 5 minute break and come back to it
3. Try applying these rhythms to a simple scale like C-D-E-F-G (10 mins)
4. Move on to the next DVD or try the next chapter (see below)

At this point, you can move on to the next DVD, or stay focused on rhythms. It really depends on your learning style. There is no harm in moving back-and-forth between multiple lessons as long as you come back to this lesson for review within a day or two.

Accompaniment

A basic definition of accompaniment is “the part played in the left hand that keeps a steady beat”. Many students when learning how to improvise have difficulty keeping a steady beat. Often, I hear them “fool around” with a scale in the right hand while playing a chord or nothing at all in the left hand. This would be fine if the beat were steady. Unfortunately, it is usually not.

If you have gone through at least the first chapter or two from the Mastering Rhythms DVD, you can now being working on a simple accompaniment that you can improvise over. DVD30-Improvise in 30 Minutes (JazzKids Book 2) teaches you these simple accompaniments and how to improvise over them.

Practice Routine:

DAY THREE:

1. Print off the music and put it in a binder (10 mins)
2. “Skim” through the printed material and DVD (15 mins)
3. Watch the first chapter (Improv introduction) before trying it alone (20-30 mins)
4. Turn off the DVD and try to reproduce what I just did in the last chapter (15 mins)
5. Practice this bass line a lot over the next few days
6. Watch the next two chapters (20 mins)

DAY FOUR:

1. At this point you should know how to play the bassline steady and understand what a lick is
2. Practice the C Blues 5-finger scale (C-Eb-F-F#-G) with the right hand (5 min)
3. Work through the licks on page 4, try one lick for now (15-30 min)

DAY FIVE:

1. I’d suggest going back to the Mastering Rhythms DVD and do another chapter. Remember to keep working on these rhythms and vocalizing them
2. If you have put the hands-together with a lick, practice that, otherwise…
3. Try putting the hands together. Play the bassline in the left hand and add the lick in the right.

At this point you should have a working knowledge of what a lick is. You should also be comfortable with the C Blues 5-finger scale and the bassline. You can stop here and rest for a day or keep going.

Chords & Theory

It is important to really learn your piano chords. What I mean is that you need to understand how to form all of your chords and spell the notes. Many times students only know how to find a chord because they have played it so many times. This is motor-memory. However, when asked to spell the notes in a B-7 chord, students draw a blank. The notes, by the way, of a B-7 chord is B-D-F#-A. You want to know how to spell all of your chords in as many keys as possible.

In my Basic Piano Chords DVD, you’ll learn:

• Intervals
• Major 7th Chords
• Types Of Playing
• Minor 7th Chords
• Dominant 7th Chords
• Sus Chords
• Magic Chords part 1
• Magic Chords part 2
• Real World Examples
• Wonder Chord

Practice Routine:

DAY SIX:

1. Print off the music and put it in a binder (10 mins)
2. “Skim” through the printed material and DVD (15 mins)
3. Watch the chapter on intervals (12 mins)
4. Try creating all different intervals at the piano
5. Quiz yourself by creating flash chards that say “Major 3rd”, “minor 3rd”. etc…

DAY SEVEN:

1. Watch the next chapter on Major 7th Chords (17 mins)
2. Try playing different Major 7th chords like CMaj7, FMaj7, GMaj7 in the right hand (10-20 mins)
3. Play those chords in the left hand now (10 mins)

DAY EIGHT-TWELVE

1. You can “flip flop” back-and-forth between DVDs now. Focus on one chapter at a time.
2. If you get frustrated, leave it for the day and come back to it the next day.
3. Try to keep the left hand steady while playing the bassline.
4. If you feel comfortable, you can try creating your own licks (see improvise in 30! DVD)
5. Remember that you can quiz yourself away from the piano and do mental practice

Technique

The last DVD that I’ll recommend in this article is the Hanon Mastery DVD. Technique is important not only to achieve fluid playing, but also to avoid injury. It is important to learn how to practice technical exercises without hurting yourself and while keeping focused. I have found that the more “fun” an exercise can be made, the more likely students will practice it.

Now, when I say fun, we’re still working. But, I make these exercises fun by showing you how to be creative in your practice. Yes, we’ll go through the ‘typical’ Hanon exercises, but I’ll also show you how to “spice” them up to sound more interesting to the ears.

DAY THIRTEEN:

1. Print off the music and put it in a binder (10 mins)
2. “Skim” through the printed material and DVD (15 mins)
3. Start by watching Hanon Exercise #1 (2-3x) (10-20 mins)
4. Try playing the exercise with only your right hand (5 mins)
5. Try playing the exercise with only your left hand (5 mins)
6. Try playing the exercise hands together (10 mins)
7. Remember to go slow and steady

DAY FOURTEEN:

1. You can move to Hanon Exercise #2, or…
2. Practice a new rhythm page (Mastering Rhythms), or…
3. Work on a new lick and add it to the bassline (Improvise in 30!), or…
4. Work on Dominant 7th chords (Basic Piano Chords)

After two weeks of working with the DVDs and the JazzPianoLessons.com program, you should have a clearer understanding of how to move between the DVDs. Remember, the DVDs are teaching you concepts. This means that you can apply these concepts to thousands of other songs. This method of teaching is more powerful in the end because you are learning the concept, not just what notes to push.

The best way to solidify these concepts is to apply them to songs. In the intermediate phase, I’ll show you how to apply these concepts to popular songs and styles. Now, you might be “itching” to get to that phase right now. Be patient. Jumping too far, too fast usually builds frustration in students.

I’ve learned the best way to avoid frustration is to break concepts down into small, step-by-step lessons that are easy to accomplish. Now easy is a relative term. What is easy to one student, might not be easy to the next. However, if you diligently practice the steps that I have laid out here, you will be able to master these concepts quickly.

Improvisation

The last concept is improvisation. Now we have already focused on improvisation in DVD30-Improvise in 30 Minutes. However, let me give you a few more pointers:

• Keep the accompaniment steady. Do not move away from the simple bassline (C-Eb-F-G) until you can play several licks in the right hand while keeping the bassline steady
• When creating your own licks, keep them very simple…like 2-3 notes in length only!
• The Mastering Rhythms DVD will be very helpful for creating your own licks because you can start a lick from a rhythm
• Try changing the bassline or licks by only one note at a time. There is more information about this on the DVDs
• Begin your practice routine with a Hanon Exercise or some type of technique for about 10-20 mins
• Don’t forget about your posture and breathing while improvising. It affects your time!

The four DVDs that I have laid out in this article represent several hours of instruction. This would translate into months of private lessons. Therefore, do not be in a hurry to ‘learn it all’ within two weeks. You might need to let some chapters just ’sit’ in your head for a while. The re is nothing wrong with just watching the DVDs to ’soak’ up the concepts. You might also try watching one DVD for ‘fun’ while working on a different DVD.

The possibilities of how you can use these piano instruction DVDs is almost endless. Apply your creative spirit to your practicing. Think of new and exciting ways to practice these concepts.

Piano Instruction DVDs covered in this article

• Mastering Rhythms Volume 1
• DVD30-Improvise in 30 Minutes
• Basic Piano Chords DVD
• Hanon Mastery

You can purchase the entire 6-DVD set at a discount here: